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Tank Infantry Mark III, Valentine IX (E2000.577)
The precise identity of this tank is not clear, all identification marks having been removed many years ago. It stood outside the Army Base at Long Kesh in Northern Ireland for many years, subsequently moving to the Maze Prison and Lisanelly Camp, Omagh.
It was subsequently acquired by Vickers Defence Systems and restored to running order in Newcastle using the engine from our Valentine Archer (E1969.43). In due course it was offered to the Tank Museum on loan and ultimately, in March 2002 was gifted to the Museum.
The Valentine Mark IX was upgunned to fit a 57mm (six-pounder) gun into the turret although this did not leave enough room for a co-axial machine gun and in any case, with just a two-man turret crew the tank was very difficult to fight.
Our tank carried the number T123358 on the turret which is correct for the type but not necessarily for this actual vehicle. Mark IX Valentines saw service in North Africa and some may have been suppplied to Russia but by 1943 the Valentine had been replaced in front line service by more modern vehicles and was either being relegated to secondary roles or supplied to other countries such as Portugal.
The Valentine development started without a specification from the War Office (hence the absence of an army designation), as a private design by Sir John Carden, and was submitted on February, 10, 1938, to the authorities. By then, the Matilda II had been chosen for production, but the Valentine was something different.
Vickers engineers basically tried to enhance their A10 Cruiser tank design, with a dramatic increase in protection (up to 60 mm/2.36 in). This choice allowed the use most components and parts of the already produced Cruiser I and II, therefore creating an efficient and cheap solution to the need of new infantry tank models. By then, the Matilda II was found to be far costlier than the Matilda I, and not suitable for mass-production. Comparatively, the Valentine seemed a good compromise. The name itself still is a mystery. It could have originated either from Sir John Carden’s middle name, or the date of its first submission (St. Valentine day), or a composed Vickers factory codename, though most historians agree that Valentine was just a simple codename during development.
The Mark I set the tone for the entire series of eleven main variants, with many sub-variants, and a staggering total of 8300 units. The main armament and turret design, as well as the engine and protection, were continuously improved while keeping roughly the same general appearance until 1945. The Mk.I was recognizable by its original two-man turret and 2-pdr (40 mm/1.575 in) gun. From the start, a coaxial Besa machine-gun constitued the secondary armament. The crew consisted of only three men due to the cramped interior, and the commander was also busy as gun loader, machine-gunner and radio operator. The production was rushed to such point that many problems were later detected and fixed with the next Mk.II. The main engine was the AEG A189 petrol delivering only 135 hp, and the hull was riveted. 350 were delivered in all, most seeing action in Libya, while others stayed at home for training.
Tankfest by World of Tanks - 24.-25.6.2016
The Tank Museum - Bovington, UK
Worlds biggest and best live display of historic armour, living history, and much more at the Home of the Tank - The Tank Museum, Bovington, United Kingdom.
More from Tankfest:
www.flickr.com/photos/jukkaokauppinen2/albums/72157670621...
More from me:
www.flickr.com/photos/jukkaokauppinen
Tankfest videos:
www.youtube.com/playlist?list=PLIGRHBJyGQb3PpXwFlOKve2OUJ...
My Imgur galleries:
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
When was the world's first railway laid? No one is quite confident on a precise date but simple rails have been used to guide vehicles for centuries, definitely as far back as the middle ages and possibly even in ancient Greece.
What is certain is that in the early 1600s a Nottinghamshire businessman called Huntingdon Beaumont came to Northumberland and laid rails from collieries near Blyth to a shipping point on the coast.
His waggonway used horses hauling wooden waggons on wooden wheels on wooden rails, however this was not a financial success. It did though provide the spark of progression from primitive wooden rails over short distances, to a railway network which would change Britain and the world forever.
Tyneside Roads
From the mid 1600 onwards waggonways and the Tyneside coal industry became linked so closely that they were known throughout the rest of Britain as 'Tyneside Roads'. A network of lines linked collieries on both sides of the Tyne to the river.
It is no coincidence that the North East was the area where waggonways took greatest hold, because canal building was impossible due to deep valleys and steep hills. What set the rail systems of Tyneside apart from all others was its use of the flanged wheel - a key element of the modern railway as we know it.
A revelation
When the Tanfield Railway - or waggonway as it was known at the time - was built in 1725, it was a revelation. Its massive engineering was unlike anything else in its era, or even since the Roman Empire. It was a triumph of engineering over nature, a clear signal that a new industrial age was upon the world, and that railways would play a massive part.
First laid down more than a quarter of a century before the first railway officially sanctioned by government, over 75 years before the first steam locomotive and a whole 100 years earlier than the Stockton and Darlington Railway, the Tanfield Railway is the world's oldest railway. We will be the first railway to celebrate our tricentenary in 2025.
When was the world's first railway laid? No one is quite confident on a precise date but simple rails have been used to guide vehicles for centuries, definitely as far back as the middle ages and possibly even in ancient Greece.
What is certain is that in the early 1600s a Nottinghamshire businessman called Huntingdon Beaumont came to Northumberland and laid rails from collieries near Blyth to a shipping point on the coast.
His waggonway used horses hauling wooden waggons on wooden wheels on wooden rails, however this was not a financial success. It did though provide the spark of progression from primitive wooden rails over short distances, to a railway network which would change Britain and the world forever.
Tyneside Roads
From the mid 1600 onwards waggonways and the Tyneside coal industry became linked so closely that they were known throughout the rest of Britain as 'Tyneside Roads'. A network of lines linked collieries on both sides of the Tyne to the river.
It is no coincidence that the North East was the area where waggonways took greatest hold, because canal building was impossible due to deep valleys and steep hills. What set the rail systems of Tyneside apart from all others was its use of the flanged wheel - a key element of the modern railway as we know it.
A revelation
When the Tanfield Railway - or waggonway as it was known at the time - was built in 1725, it was a revelation. Its massive engineering was unlike anything else in its era, or even since the Roman Empire. It was a triumph of engineering over nature, a clear signal that a new industrial age was upon the world, and that railways would play a massive part.
First laid down more than a quarter of a century before the first railway officially sanctioned by government, over 75 years before the first steam locomotive and a whole 100 years earlier than the Stockton and Darlington Railway, the Tanfield Railway is the world's oldest railway. We will be the first railway to celebrate our tricentenary in 2025.
Dorothy Ashby's precise and intricate solo harp playing is highlighted on the song "If It's Magic" from the classic album, Stevie Wonder's 1976 Motown Tamla LP "Songs In The Key of Life".
This landmark musical production was a two record album set plus an extended play 45 rpm single. The release of "Songs In the Key of Life" remains one of, if not the most significant and successful recording projects in Stevie Wonder's stellar career.
This album was hugely significant to the career of Dorothy Ashby because she is the sole musical accompaniment to Wonder's singing and harmonica playing on the beautiful song "If It's Magic". Ashby's sensitive and intricate positioning of individual notes on the harp supported and accentuated Wonder's beautiful vocals on this song. This musical duet was accomplished, (according to private papers written by Dorothy Ashby) after Stevie Wonder auditioned several harpists (including Alice Coltrane) for the assignment.
Stevie Wonder has recently said onstage in concert that of all the harp players that auditioned to play on his "Songs In Dorothy Ashby was the best. It has been suggested that Dorothy Ashby got the nod to play on the "If It's Magic" song only because Alice Coltrane was not available but according to both Stevie Wonder and Dorothy Ashby, this was not the case. Private notes written by Dorothy herself indicated that her selection to play on the song was the end result of a auditioning process that included Alice Coltrane but in the end, Alice Coltrane was not selected. Listening to the song I am much more inclined to believe Ashby's story because it is well known that Stevie Wonder is a very exacting musician who insists on the best from his fellow musicians. Stevie Wonder took almost two years to record this album. Wonder took his time to produce the best album of his career so it stands to reason that he would have waited for his first choice in terms of a harpist. Especially for a song that highlighted to skills of the harpist as much as the song "If It's Magic".
Stevie Wonder was producing the best albums of his career and artists were lining up to work with him at this time. The most widely held story is that Bill Withers (who had been recently produced by Dorothy Ashby) , personally recommended Dorothy Ashby to Stevie Wonder.
On the song "If It's Magic" Dorothy Ashby's signature style of individual and distinct note playing on the harp is evident. Alice Coltrane was much more inclined to strum the harp continuously when playing and that would not have worked as well in this song.
Dorothy Ashby's poignant singular harp playing along side Stevie Wonder's singing on "If It's Magic" was a high point on the album. "If It's Magic" was played on many stations nationwide and the attention that Dorothy Ashby received was probably the most that she had ever received ever.
One thing is certain, Dorothy Ashby was very much in demand as a session musician after the release of this album. In fact, Dorothy Ashby played harp on many records released on Motown Records that have not yet been documented.
Well at this precise moment this Brown Hare looked like it was doing a walking handstand but it was really just lolloping across the track. The long shadows show it was taken in the early morning sunshine. Perhaps surprisingly Brown Hare is not native to Britain. Records appear from Roman times onwards but it is thought to be an Iron Age introduction. The very limited genetic variation in British Brown Hares confirms it was introduced from just a few individuals, probably from Denmark. Brown Hare was not introduced to Ireland where Mountain Hare is the widespread hare.
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
The kit and its assembly:
This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!
Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.
The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…
Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.
The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.
The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!
The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.
Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…
Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.
The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.
As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
With precise attention to detail and using dimensions and specifications from the original rifle, the craftsmen at Turnbull Mfg. Co have re-created one of the most famous Winchester rifles ever produced. The production of this “TR Model 1876” will be limited to no more than 25 rifles. Each rifle will be individually numbered TR01-TR25 and will come in a custom display case. A portion of the proceeds from the sale of each rifle will benefit the Doug Turnbull Restoration Conservation Laboratory at the National Firearms Museum. Specifications: 45-75 caliber, button magazine, fancy pistol grip butt stock, 28" 1/2 round, 1/2 octagon barrel, steel grip cap, cheek piece stock, H-pattern checkering, checkered steel buttplate, Freund rear sight, sporting front sight, gold inlaid stock oval, color case hardened receiver.
Kuchipudi is a classical dance form of South India. It takes its name from a small village called Kuchipudi, in the state of Andhra Pradesh, where it was born.
Expressive dance, or abhinaya, is a narrative aspect where each part of the body is used to bring alive the text, poem or story, recited in the song.
The hand gestures - mudras - are codified into a very precise language. The facial expressions are stylised so as to convey a wide range of complex and subtle sentiments and feelings. The whole body comes alive to communicate the emotions which arise from the song.
Kuchipudi is a harmonious combination of these two aspects, alternating moments of pure dance, rhythmic, bright, vivacious, full of beauty and grace, and narrative moments based on the Hindu mythology, where the focus is on the use of gestures, facial expressions and body language.
Dr. Shobha Naidu is among the foremost Kuchipudi dancers of India. She mastered the technique of Kuchipudi and began dancing lead roles in dance-dramas while still very young. She has performed with her guru's troupe all over the country and abroad, excelling in the roles of Satyabhama and Padmavati.
1974 Chevy Caprice w/ 26" COR Precise Wheels.
Contact Info
Web: www.corwheels.com/precise-super-concave/
Phone: 305.477.5850
Email: info@corwheels.com
Stay in the loop
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Fit must be precise at every step of the way while assembling the stem. The student's left hand is on the stem knee, while his right rests on the keel. The reason the stem is constructed in this manner - using a knee like this, can easily be seen in this photograph. The grain in the keel constributes to its strength along the run of the keel, but as it turns up to meet the stem, the long grain becomes short grain and subject to being split much more easily. The stem knee backs up that short grain, making the area, and joints, much stronger.
The British Broadcasting Corporation (BBC) asked the Boat School to build three traditionally-built Whitehalls as replicas of the boats used by John Wesley Powell and his group of explorers during their first-ever descent of the Colorado River in 1869. The BBC will film a reenactment of the voyage later in 2013.
The School is building one 16-foot Whitehall, the "Scout Boat", and two 21-foot Whitehalls. Though Powell launched four Whitehalls onto the river in 1869, one, the 21-foot "No Name", was lost to the river shortly after the descent began.
The white oak from which the boats are constructed was supplied by Newport Nautical Timbers www.newportnauticaltimbers.com/ . The 16-foot boat will be planked in larch from eastern Washington, which is as close as it is possible to come to the original white pine planking used on that boat.
Whitehalls are the iconic American pulling boat.
They emerged in New York City and, possibly, shortly thereafter in Boston in the 1830's. It is thought the name derives from Whitehall Street in New York City, though no one is sure. By the mid-19th century, they could be found anywhere there was a sizeable body of water - the East Coast, the Great Lakes, and the Pacific Coast at San Francisco all boasted boatbuilders turning out Whitehalls.
The boats were usually used under oars and occasionally sail as fast harbor ferries and the boat used to take harbor pilots out to meet inbound sailing ships. They have a fine reputation as fast, easy-rowing vessels that are capable of carrying a great deal of weight.
Nearly all Whitehalls were carvel-built with white cedar planking on an oak backbone with oak frames. (Carvel planking means that the planks butted up against each other, edge to edge, which results in a smooth hull). The finer boats were highlighted with a bright sheer plank (the top plank) varnished to catch one's eye.
There is surprisingly little known about the boats used by the 1869 Powell Expedition, the first to descend the Grand Canyon of the Colorado River. We do know that the Powell Expedition boats were built in Chicago IL to Powell's specifications.
It's known that the "Scout Boat" as Powell called it was 16 feet long and planked in white pine, that the remaining boats were 21 feet long and planked in white oak with twice the number of frames and doubled stems and stern posts.
There are no complete descriptions of the boats themselves, no pictures, and only a few scattered references made to the boats in the surviving journals and records of the Expedition.
The three boats we are building for the BBC are being constructed to the best information available, using the general scantlings provided by John Gardner's historical work, extent plans, our significant experience in building Whitehalls over our 32 years, and the historical data available to us.
The boats will be completed by mid-July, 2013.
The Northwest School of Wooden Boatbuilding is located in Port Hadlock WA and is an accredited, non-profit vocational school. You can find us on the web at www.nwboatschool.org .
Our mission is to teach and preserve the fine art of wooden boatbuilding and traditional maritime crafts.
We build both commissioned and speculative boats for sale while teaching students boatbuilding the skills they need to work in the marine trades. If you're interested in our building a boat for you, please feel free to give us a call.
You can reach us via e-mail at info@nwboatschool.org or by calling us at 360-385-4948.
Photograph courtesy Mark Stuber.
Smoking triangle burgers, the precise angle has been concealed to protect the secret formula. In a double blind study at MIT, students with poor math grades consuming only two triangle burger showed a marked improvement in test scores.
Triangle burgers formulation developed at the Tri- Burger Test Laboratory in Troutdale Oregon
¼ cup olive oil
2 cloves garlic minced Sautee until onions are translucent
¾ of a large yellow onion diced
1 can of mixed tropical fruit optional (you will need to drain well and use a potato masher to soften)
1 large jalapeño remove seeds
About ½ a jar of chipotle Paste chipotlepeople.com
¼ cup of filtered water adjust if needed
½ cup red wine (a quality cabernet sauvignon would be nice)
Add the rest of the ingredients bring to a boil and let simmer for 10 minutes until it thickens, refrigerate for 1 hour before mixing with hamburger.
Place 1 pound of lean hamburger and ½ pound of Ed Depee custom made pork sausage (If you can get it) in a large mixing bowl add the remaining ¼ onion and the sauce, mix well by hand shape into triangle to your prefered size. Be sure to hold back about a 1/3 of the sauce to use as a condiment for dressing the Tri burger.
Make triangle shaped buns, brush with olive oil and minced garlic add a little salt, toast on grill for 5 to 10 minutes.
Barbequing with a Traeger grill smoker technology, using wood of you're choose, I prefer cherry but that’s just how I roll.
Tri-Burger Institute.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
First the precise fit, then the curve is cut and shaped.
RIPTIDE was built in 1927 by Frank E and William J Schertzer, owners of Schertzer Brothers Boat and Machine Company, which was then located at 1115 Northlake Avenue on the north end of Lake Union near the foot of Stone Way in Seattle. Tantalizing hints in her lines suggest she may have been designed by the Seattle firm of Lee, Brinton and Wayland. Her original owners are as yet unknown.
RIPTIDE is 47 feet 1-inch long with a beam of 11 feet 10-inches and a draft of four feet. She is planked in port orford cedar riveted to white oak frames over an apitong backbone with western red cedar houses. She displaces about 10 tons, relatively light for a boat this size.
A Coast Guard documented vessel, RIPTIDE carries documentation number 226242 carved into the interior face of both port and starboard bilge stringers.
RIPTIDE is powered by remanufactured Cummins B210 5.9 liter turbo-charged diesel of 210hp. While her top speed is over 14 knots at 2400 rpm, her cruising speed is a much more sedate 9 knots at 1500 rpm. She carries 300 gallons of diesel fuel.
She was overhauled by the Port Townsend Shipwright's Co-Op in Port Townsend WA in 2015, completely recaulked by John Zimmer of Palouse Boatworks, and painted and varnished by Diane Salguero of Salguero Marine Services. 2017 work included replacing the aft portion of the pilothouse and adding six new portlights forward and repainting the boat, in addition to her annual painting. 2018 Work included replacing the forward portion of the pilothouse, overhauling the transom seat area, and adding a water system and head. Shipwrights Jeff Galey and Paul Stoffer have done the majority of work on the boat. Salguero Marine will paint RIPTIDE after she emerges from the shipyard in early July, 2018.
RIPTIDE's hailing port is Port Ludlow WA. She is usually moored in Port Madison, on Bainbridge Island, WA.
Port Townsend Shipwright's Co-Op:
www.facebook.com/PortTownsendShipwrightsCoOp?fref=ts
Salguero Marine:
a href="http://salgueromarine.com/" rel="nofollow">salgueromarine.com/
www.facebook.com/marinefinishes
Mystery Bay Sails and Canvas:
03.04 - 93/365
A tiny speck against the blue vault, yet a powerful force dismantling a concrete titan. This precise work is a dance of destruction that irreversibly shifts the skyline. The industrial past dissolves into dust, clearing space for a new narrative.
The precise identity of this Valentine Mark IX is not clear, all identification marks having been removed many years ago. It stood outside the Army Base at Long Kesh (later known as the Maze Prison) in Northern Ireland for many years, subsequently moving to Lisanelly Camp, Omagh. It was acquired by Vickers Defence Systems and restored to running order in Newcastle using the engine from the Museum’s Valentine Archer. In due course it was offered to the Museum on loan and ultimately, in March 2002, was gifted to the Museum. It carries the number “T123358” on the turret which is correct for the type but not necessarily for this actual vehicle. (Source: Museum Vehicle Record).
This Valentine is in running order and has taken part in various events including the Tanks in Action display in August 2000, and Tankfests 2002, 2004, 2006 and 2008. In about 2010/11 it appeared briefly in new markings, then was repainted in a sand and brown camouflage scheme and with a new registration number painted on the turret.
T67003: “T67003” painted on forward turret sides. “T123358” previously painted on left turret side.
info from preservedtanks.com/Locations.aspx?LocationCategoryId=3000
The Wandra was wrecked on the night of 15th December 1915 at a location known as the Drumsticks, or Drum and Drumsticks. The image, taken from Google Maps, shows the Beecroft Peninsula and Point Perpendicular. The Peninsula forms the Northern entrance to Jervis Bay, NSW. The precise location of the wreck is contained on this website: www.michaelmcfadyenscuba.info/viewpage.php?page_id=118
This report has been prepared by Chris Borough, Graham Nicholson and Philip Pope
DETAILS
Name: WANDRA (Originally Wandy)
Official Number: 121183
Type: Steamer – ketch rigged
Register: Sydney 31/1907 - 31st July 1907
Builder: Denis Sullivan, Coopernook
Materials: North Coast Hardwood - Blackbutt, Ironbark & Flooded Gum as well as Oregon (for the deck).
Launch: Coopernook, Saturday 1st June 1907
Length: 120.5 ft.
Breadth: 26.0 ft.
Depth in Hold: 5.8 ft.
Tonnage: (n.b. 1 shipping ton = 100 cubic ft. or 2.83 cubic metres)
Gross: 163.66 tons
Nett or Register: 71.07 tons (201.13 cu. m.)
Engines: Two-cylinder Compounding Surface Condensing – Campbell and Calderwood, Paisley, Scotland.
Propeller: two
OWNERS: Allen Taylor and Company Limited of Pyrmont, NSW
LAUNCH OF THE WANDY
Despite being launched as the Wandy she was registered as the Wandra
Launching at Coopernook.
THE S.S. WANDY.
The fourteenth boat built by Mr. D. Sullivan was successfully launched at his Coopernook yards on Saturday last [1st June 1907], in the presence of several hundred spectators— the christening ceremony being performed by Miss Vera Sullivan (a grand-niece of Mr. Sullivan), who gracefully named the steamer "Wandy" as she left the ways. As is usual with Mr. Sullivan's launchings, not the slightest hitch occurred. The name Wandy is derived from Wandyan, on the South Coast, where Messrs. Allen Taylor & Co. are opening up the timber trade at St. George's Basin, near Jervis Bay. The firm has a mill there, and is working what is practically a virgin forest.
The new boat, which is of ordinary build, with a round bilge, is owned by Messrs. Allen Taylor and Co., and is to be placed in the timber trade. She is 125 feet long overall, and 120 feet between perpendiculars, with a 26ft. beam, and has a capacity for 60,000 feet of timber — this being equivalent to 180 tons dead weight, or 1800 bags of maize. The timber will be carried in a large hatch amidships. With the exception of that in the deck, which is Oregon, all the timber used in the construction of the vessel was obtained locally. The keel and keelsons are ironbark, the planking blackbutt and flooded gum, and the frames hardwood. Two masts, each 65ft. in length, will be fitted. The vessel will be of the twin-screw type, and will be electrically-lighted throughout. Accommodation will be provided for a crew of 12—the captain's cabin being on the bridge, and the officers' quarters aft, whilst the sailors will be accommodated for'ard. The engines will be of the compound type, 10-in. and 20-in. stroke, and will be placed aft. They are to be fitted by Messrs. Begg and Grieg [Greig], of Sydney. This firm also fitted the engines in the Pyrmont. A speed of 9 knots will be attained.
Copper fastenings have been used to the water line and galvanised above it. The keel of the Wandy was laid in September of last year, and since then 25 men have been employed by Mr. Sullivan in the yard and bush. The vessel will probably be towed to Sydney on Saturday by one of Messrs. J. and A. Brown's tugs [Alice].
The Manning River Times and Advocate for the Northern Coast Districts of New South Wales (Taree, NSW : 1898 - 1954) - Wed 5 Jun 1907
TOWED TO SYDNEY
The Wandy.— The hull of the steamer Wandy, , which was launched at Coopernook on the 1st inst.,arrived in Sydney on Wednesday night last in tow of Messrs. J. and A. Brown's tug Alice.
The Manning River Times and Advocate for the Northern Coast Districts of New South Wales (Taree, NSW : 1898 - 1954) Wed 19 Jun 1907
ENTERED INTO THE CAPE HAWKE TRADE
The Cape Hawke Trade.— The new steamer Wandra, recently launched at Coopernook by Mr. D. Sullivan, has taken up the Cape Hawke trade for Messrs. Allen Taylor & Co. while the bar and crossing remain in their present shallow condition, and the S.S. Tuncurry is putting in the time elsewhere. The Wandra, when launched, was christened " Wandy" by mistake, but the correct name was registered by the company. She has been nicely fitted, and carries a good cargo on a light draught. Her speed is about 8 knots.
The Manning River Times and Advocate for the Northern Coast Districts of New South Wales (Taree, NSW : 1898 - 1954) - Sat 31 Aug 1907
DAMAGE TO PROPELLER
Grounding and damage to propellers was a common problem for vessels trading along the NSW Coast.
ACCIDENT TO THE WANDRA.
The Navigation Department received a telegram to-day stating that while coming down the Manning River yesterday, the steamer Wandra, owned by Messrs, Allen Taylor and Co., lost two blades of her [starboard] propeller. Repairs will have to be effected at Sydney.
The Sun (Sydney, NSW : 1910 - 1954) - Wed 5 Feb 1913
WANDRA'S PROPELLER INJURED.
A telegram received by the Department of Navigation from the pilot at Bellingen yesterday stated that the steamer Wandra left there for Port Stephens and Newcastle with two blades of her propeller injured.
The Sydney Morning Herald (NSW : 1842 - 1954) - Thu 26 Feb 1914
WANDRA ASSISTS IN RESCUE OF TRAMP
Wandra and Tug to the Rescue.
It fell to the lot of the coasting steamer Wandra, one of Messrs. Allen Taylor and Company's fleet to rescue the Tramp from her dangerous position off the coast.
When the report was received from Captain Thomson of the Wyandra, Captain Hacking, the Superintendent of the Department of Navigation, notified Captain Kerkin at the Manning River of the dismasted schooner's position, and he was instructed to take steps to have the derelict removed from the track of navigation. The steamer Wandra happened to be off the Manning River, and she was signalled to proceed to the wreck. A message had meanwhile been received giving the position of the Tramp as five miles to the southward of Crowdy Head. The Wandra came across the derelict shortly before noon on Monday, and Pilot Kerkin telegraphed to the Navigation Department during the afternoon: "Wandra proceeded as instructed, and secured the derelict. She is now steaming towards the bar, with the derelict in tow."
There was a heavy sea at the Manning River entrance when the Wandra and the derelict arrived off the bar, and the subsidised tug, John Gollan, put out and picked up the Tramp from the Wandra, and towed her inside, the tug and the dismasted vessel entering the river at 3.55 p.m.
The Manning River Times and Advocate for the Northern Coast Districts of New South Wales (Taree, NSW : 1898 - 1954) Sat 2 Aug 1913
WRECKED ON ROCKS NORTH OF JERVIS BAY – 15th December 1915
FOUNDERING OF THE STEAMER WANDRA.
Twelve members of the crew of the steamer Wandra, one of the small coasters belonging to Messrs. Allen Taylor and Co., reached Jervis Bay, on the South Coast, at 1.30 o'clock yesterday morning and reported the loss of the vessel. The Wandra foundered off the Drumsticks, about seven miles north of Point Perpendicular.
The Wandra was bound from Moruya to Sydney, timber-laden, in charge of Captain Rueben Lucey. North of Jervis Bay, the vessel became unmanageable, and subsequently foundered, the crew escaping in the boat with only what they stood in. Captain Lucey telephoned to Messrs. Allen Taylor and Co., yesterday morning news of the disaster, and the company is arranging for the crew to return overland via Nowra.
The Wandra was specially designed for the timber trade on the coast, and she had been running both north and south since she was built in 1907. She was a wooden vessel, of 164 tons gross and 71 tons net, with a length
of 120ft. 5in., beam of 26ft., and depth of 5ft. 8in. The vessel and cargo were covered in the United Insurance Co.
STATEMENT BY THE CAPTAIN.
Nowra, Thursday. — Captain Lucey, of the Wandra, states that the vessel left Moruya yesterday morning with cargo of 48,800 superficial feet of timber, mostly girders, and everything went well until she got five or six miles north of Jervis Bay Lighthouse. At about 10 o'clock at night, wind and sea being moderate, the Wandra suddenly filled up on the lee side, and did not recover. She went in towards Drumsticks at Currarong. The captain let go the anchor quickly, but she foundered almost immediately in from eight to ten fathoms of water. All hands were landed without any flurry or excitement, and proceeded to Jervis Bay lighthouse, where they received every attention. Captain Lucey says there is no chance of salving the Wandra.
The Daily Telegraph (Sydney, NSW : 1883 - 1930) Fri 17 Dec 1915
CREW'S EXPERIENCES AFTER SHIPWRECK.
NOWRA, Sunday 19th.
Captain Lucey, of the wrecked steamer Wandra, and all his crew, arrived at Nowra from Jervis Bay Lighthouse at 12.30 p.m. on Friday [17th]. They left the lighthouse at 6 o'clock in the morning, and a horse and cart having been provided by the lighthouse-keeper, they took it in turns to walk and ride towards Nowra. After covering some 12 miles in this manner they were met by vehicles sent out from Nowra, 16 miles away. From here they proceeded to Sydney.
The captain, who is suffering from a slight injury to one of his knees, sustained whilst landing at the Drumsticks, further states that immediately the sea was shipped and the steamer was in difficulties the ship's pumps were got to work, with the hope of pumping her out, but she never recovered the list received after shipping the sea, and sank with pumps working almost up to the last. The night was clear when she went down, and her masts were showing when they landed.
After landing rain set in, and being a cold night they all suffered considerably in their six-mile tramp to the lighthouse. The captain expressed his gratitude to the lighthouse-keeper and staff, who gave all the assistance in their power to himself and the crew, and provided them with a few pairs of boots, together with caps and tobacco.
The Sydney Morning Herald (NSW : 1842 - 1954) Mon 20 Dec 1915
THE WANDRA FOR SALE
Mr F R Strange advised that he is selling by public auction to-day at 28 Market street, at 11.30 a.m., the wreck of the steamer Wandra as she now lies at The Drumsticks, near Jervis Bay Heads, including a cargo of hardwood, consisting of hardwood sleepers.
The Sydney Morning Herald (NSW : 1842 - 1954) Fri 14 Jan 1916
Further details on the wreck and information on Scuba Diving can be found at
www.michaelmcfadyenscuba.info/viewpage.php?page_id=118
Acknowledgements: The assistance of Mori Flapan (Mori Flapan boatregister) by providing access to his extensive database is greatly appreciated.
Image Source: Unknown
Image Enhancement - Philip Pope
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flickr Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
1. Unto Viljami Terho is a satyr, or to be more precise, kind of earth elemental, specialiced in plants. He can communicate with spirits an plants and earth, engouraging plants to grow or even causin small earthquakes in 5 metre radius. the more natural state ground is, further he can sense movements on the ground. This all sounds awesomly cool, but Untti is very prone to fall asleep as soon as he has used his powers a bit more flashy way, if he even sees any reason to use them. Usually he just chills.
2. Unto is constantly on a state where you wounder if he has eaten some magic mushrooms or smoked somethiong he shouldn't have. He has been like that trough his life, and so far no one has seen him take anything extra, he doesn''t even drink alcohol. Sometimes it seems he lives in whole another reality, and he gets facinated by the wierdest things. ("Hey duuude,look, funny shaped stone! It looks like bunny which rides a rhino in a desert!" "... Eh...?" "See! it even has a pink ribbon!" "okay... *takes few seps back*") But he is very harmless and loves people, so usually people just get used to him by time.
3. Unto sways like a grass on the wind all the time. His way to move reminds me of reeds. With his sleepy smile and funky way to move he seems like somesort of wierd sleepwalker. And he is really cute while doing that. Or really creepy. Your pick. xD
5. He seems very scattered brained and airheaded, not to meantion stupid most of the time. Until discussion turns into botany, and he suddenly turns in to wikipedia. Unto knows Amazing amounts about plants, mushrooms, weeds and anything living-yet-not-animal. He can easily name hundreds of palnts in their latin names, knows how they can be used and where they grow. He loves plants, and acctually works as a florist in his family shop. He rarely breaks this to people he meets the first time, because he rather wouldn't like ladies to get impression that he is gay.
6. Speaking of ladies, Unto loves pretty ladies. He consideres himself quite a charmer, and seems to be only one thinking so. He isn't worst kind of guy, it usually stays with bad punchlines and few adoring, sleepy winks on Unto's side, and when girls run from the sitution laughing themselfs to near death, satyre seems even more convinced that he is a real find. Saku is trying find a way to break it to him that they are laughing to him, not with him.
7. Saku and Unto hadjust met, when he asked Unto to be Minttu's godfather. Unto is very proud of this honor, and likes little Minttu very dearly. They often make up several funny stuff to do together and give daddy a big headache.
8. Unto has several friends, but Saku has been his dearest ever since he met him. Unto has strange way of 'adopting' people - he just comes and desited that, hey, you will be mu bestest buddy for now on! And Saku, unlike others, never tried to squirm of the honor. He likes having him around, and Saku works as Unto's brain, while Unto keeps pushin Saku out of his shell.
9. It's isn't acctually phobia, but Unto can't stand birds. They make him really nervous.
10. Unto is sucker for anything sparkly. He just loves all the things shiny. And colorful. No, You don't wanna see his appartment. Your eyes would bleed, trust me.
OUR CLIENT'S CHEVROLET CORVETTE C6 GRAND SPORT WITH 19/20" COR PRECISE CONCAVE WHEELS. WWW.WHEELSPERFORMANCE.COM
* Controversy surrounds this seemingly exact and precise measurement of distance covered. Broken-boot Brett has a different data set, analyzed through the filter of one who knows the limitations of GPS:
From: Brett
Hey all,
Hope you guys are all feeling good this morning. I posted my GPS tracks from the hike into the Trip 1 folder. I find it interesting too look back at the path I actually took on a trip.
"2012_Conditioning_GoogleEarth.jpg"
"2012_Conditioning_Topo.jpg"
My GPS says we went 12.8 miles total, and averaged about 2 mph uphill and 3 mph on flats or downhill.
A note about GPS tracks; originally mine came up with over 13 miles, but when we were in the canyon eating lunch it drifted around quite a bit. Once I removed the obviously erroneous points it brought the mileage down some. Needless to say we covered some good ground and everybody did a great job.
Sierra Club WTC Group Five, Winter 2012
Heritage Hearing Aid Centers is your hearing aid in Moorefield, West Virginia. Heritage Hearing Aid Centers Owner Jason Kaposy, a State and Nationally Board Certified Hearing Instrument Specialist, has locally owned and operated Heritage Hearing Aid Center since 1985. We are excited to announce our new office, Hearing Central, in Morgantown. We are also excited to announce we are remodeling our offices in Romney and Petersburg. We can't wait to have you stop by when they are completed. Heritage Hearing Aid Center and Hearing Central will both help you find the right hearing solution that best matches your lifestyle needs. The staff at both Heritage Hearing Aid Center and Hearing Central are certified and trained experts at understanding your hearing needs. Explore the newest wireless hearing aid products by Starkey Hearing Technologies. Our professionals believe that every person, regardless of age, should benefit from the best hearing possible. We believe you are entitled to products, services and counseling to help you function more effectively in social, educational and occupational environments. Heritage Hearing Aid Center and Hearing Central provide hearing solutions that are customized to each patient's individual needs. The most important part of what we do is listen. Thanks to today's advanced technology, we can provide education and solutions that are more powerful, precise and user-friendly than ever before.We provide services to our customer in the area of Moorefield, WV.
The precise location of that first church has been lost. The present building dates from the time of Pope Sixtus III (432 - 440) and contains many ancient mosaics from this period. Its form so exactly follows the conventions of an imperial basilica it has at times been taken for one.[9] The Athenian marble columns supporting the nave are even older, and either come from the first basilica, or from another antique Roman building; thirty-six are marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals.[10] The 14th century campanile, or bell tower, is the highest in Rome, at 240 feet, (about 75 m.). The basilica's 16th-century coffered ceiling, to a design by Giuliano da Sangallo, is said to be gilded with Inca gold presented by Ferdinand and Isabella to the Spanish pope, initially brought by Christopher Columbus[citation needed], Alexander VI (something which factually is erroneous, since the Inca empire was conquered during the reign of Charles V). The apse mosaic, the Coronation of the Virgin, is from 1295, signed by the Franciscan friar, Jacopo Torriti. The Basilica also contains frescoes by Giovanni Baglione, in the Cappella Borghese.
The Piazza dell'Esquilino with the apse area of Santa Maria Maggiore.
The Borghese (or Pauline) Chapel
The 12th-century façade has been masked by a reconstruction, with a screening loggia, that were added by Pope Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the mosaics of the façade. The wing of the canonica (sacristy to its left and a matching wing to the right (designed by Flaminio Ponzio) give the basilica's front the aspect of a palace facing Piazza Santa Maria Maggiore. To the right of the Basilica's façade is a memorial representing a column in the form of an up-ended cannon barrel topped with a cross: it was erected by Pope Clement VIII immediately after the St. Bartholomew's Day massacre of Protestants, though today it is reputed to celebrate the end of the French Wars of Religion [1].
The Marian column erected in 1614, to designs of Carlo Maderno is the model for numerous Marian columns erected in Catholic countries in thanksgiving for remission of the plague during the Baroque era. (An example is the Holy Trinity Column in Olomouc, the Czech Republic). The column itself is the sole remaining from Constantine's Basilica of Maxentius and Constantine in Campo Vaccino, as the Roman Forum was called until the 18th century [2]; Maderno's fountain at the base combines the armorial eagles and dragons of Paul V.
1974 Chevy Caprice w/ 26" COR Precise Wheels.
Contact Info
Web: www.corwheels.com/precise-super-concave/
Phone: 305.477.5850
Email: info@corwheels.com
Stay in the loop
I am not sure of the precise location of this view yet (if you know, please let me know). The following text is from "Old Kinson" by S J Lands:
"Next door the pretty three-gabled cottage of the same period took over the name of Ensbury Cottage when its neighbour was elevated. There were a few more cottages for the estate and farm workers which remained until the area was developed after the war. Watts Nursery Garden occupied the land between Ensbury Cottage and Thresher’s Farm where we now have parades of shops. The first and only shop for a long while at Ensbury was that belonging to Davies Tarrant, farmer, baker and grocer. Mr. Tarrant was burgled in 1840, the thieves carrying off a griskin of pork, a shoulder and three sides of pork, three bladders of lard a piece of beef and a barrel of mead. This took place on December 24th! There was a shop at Ensbury from Tarrant’s time onwards in a cob cottage opposite Ensbury Farm."
www.blsp.jp137.com/index_htm_files/Old.Kinson.pdf
T White, Post Office, Kinson.
Postally unused.
The precise identity of this Valentine Mark IX is not clear, all identification marks having been removed many years ago. It stood outside the Army Base at Long Kesh (later known as the Maze Prison) in Northern Ireland for many years, subsequently moving to Lisanelly Camp, Omagh. It was acquired by Vickers Defence Systems and restored to running order in Newcastle using the engine from the Museum’s Valentine Archer. In due course it was offered to the Museum on loan and ultimately, in March 2002, was gifted to the Museum. It carries the number “T123358” on the turret which is correct for the type but not necessarily for this actual vehicle. (Source: Museum Vehicle Record).
This Valentine is in running order and has taken part in various events including the Tanks in Action display in August 2000, and Tankfests 2002, 2004, 2006 and 2008. In about 2010/11 it appeared briefly in new markings, then was repainted in a sand and brown camouflage scheme and with a new registration number painted on the turret.
T67003: “T67003” painted on forward turret sides. “T123358” previously painted on left turret side.
info from preservedtanks.com/Locations.aspx?LocationCategoryId=3000
White lion Hotel
The precise age and character of the tiled mosaic pub sign is currently not public knowledge. But the city council has already promised to clean the sign and preserve it.
Councillor Jim O’Boyle, Cabinet Member for Jobs and Regeneration, has been quoted as saying: “Officers are currently working to see if we can lift the mosaic in one piece, and if we can, we want to incorporate it in some way as part of the final design for the Upper Precinct.”
The White Lion building that was finally demolished in 1955, with its distinctive mock-Tudor frontage, appears to have been first constructed in 1921. It replaced an older building of the same name, on the same site, which would have been the meeting place of Joseph Levi and his friends.
This 22.5-foot wake boat welcomes as many as 13 with versatile seating, comfort and wake sport performance. The Launch 22V interior brings resilient multi-textured Syntec NANO Block vinyls together with the durability of exclusive Gore Tenara thread. Triple density foam construction makes the interior as cushy as it is beautiful. Supra has made the high-traffic path from the lounge to the swim step worry-free with a fiberglass seat step and transom walkacross. The wakes are multi-discipline and pro caliber. Control your curl and your ramps with cockpit switching or a Touch of the VISION. As fun to drive as it is to ride, the 22V slices through rough water with flat precise turns. High and slow speed maneuvers are almost as impressive as you will look pulling them off. Playpen or walk-through bow, the Launch and Sunsport 22V will fit your wake boating lifestyle.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 11"
Overall Length w/ Platform & Trailer: 26' 9"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 25"
Weight - Boat only: 3,800 lbs
Weight - Boat and Trailer: 5,100 lbs
Capacity - Passenger: 13
Capacity - Weight: 1,900 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 1,950 lbs
Engine - Electronic Fuel Injection: 345 HP V-8
1974 Chevy Caprice w/ 26" COR Precise Wheels.
Contact Info
Web: www.corwheels.com/precise-super-concave/
Phone: 305.477.5850
Email: info@corwheels.com
Stay in the loop
I'm guessing a lot, because I can't read the emblem on the side. Ii think it says the word CUSTOM and then something else. Obviously, from the tailgate; it's a Ford, but could someone please help me with year and model so I can place this picture in the correct group/pool. I'm just making guesses so far.
I was invited to post it in Ford Trucks 1973 - 1979 (pool), which I gladly did, but I would like to know more precisely what model and year it was.
Thanks, Delina
(DSCN0844FordPickupTruckF150QFlickr121316)
Toute aide pour une identification précise serait appréciée.
Any help for identification will be much appreciated.
...not any more .....Agriculture it appears should be more precise than that for good yields. Check out this charity which is making a difference in Africa to ordinary subsistance farmers
check out their website for more details
www.farming-gods-way.org/FGW_files/Overview.htm
This is going to make a huge difference to many peoples lives and incomes in Africa, probably more than a whole host of NGOs
this is the Blackhead's House - precise replica finished in 2001 of a building that was destroyed during the World War II.
the original Blackhead's House was first mentioned in 1334. the building was owned by the Great Guild that sprang up not later than in the 14th century. the Guild consisted of the privileged groups of merchants and landholders in the Baltics and had a great influence on the town council work. in the 15th century, the house was rented out to the Blackheads Merchant Guild and became their property in 1713.
the Blackheads was characteristically a common union of young, unmarried merchants and ship captains in the Hansa cities, which chose St. Maurice to be their patron. St. Mauritius was the leader of the legendary Roman Theban Legion in the 3rd century, and one of the favorite and most widely venerated saints of that group. St. Maurice is sometimes represented as a black Moor, which is actually the meaning of his name, and from this the name of the brotherhood “the Blackheads” comes. due to their exceptional status the Blackheads played an important role in the society life and traditions; many VIPs of that time (including Russian tsars) took part in events organized by the Blackheads.
Blackheads' Houses, in turn, were clubs and communities at the same time. the House in Riga at once contained one of the world’s richest collections of silver objects. the building was destroyed in 1941, and the Soviets completely pulled down the ruins in 1948, because it was considered to represent 'decadent' German architecture.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Precise motor positioning using PID feedback motor and positioning sensor from a Canon Pixma IP 4000(?)
Using Lady ada motor shield (very good shield as would be expected).
It's a work in progress, and needs some optimisation. Considering some more experiments, and making a 3D printer.
Here's some more info:
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550